The foundation which I am trying to lay here (having used many of Paul Foster Case's own words) is that of the willing sacrifice. If we go back far enough in Human History, we will find Human sacrifice. It is nothing to be proud of certainly, but it is nothing to hide from either. In the first note I explained why this practice was performed. What I did not address was how the sacrificed body was used. Because it was considered to be descended from other Divine Kings (the Breed- ing I spoke of), it was believed that the flesh and blood of the Slain God contained mystical properties. Therefore small bits of his flesh were distributed to the Clan, and diluted portions of his blood were consumed. In this way, the Clan was connected to his divine nature. In time, animal sacrifice replaced Human sacrifice, and later still plants served as the Slain God. But the practice of consuming the Slain God never changed. Today it is still performed in the ritual of cakes and wine, which represent the body and the blood of the Slain God (now Lord of the Harvest). In some Traditions the cakes symbolize the God and the wine symbolizes the Goddess (that is, their "essence"- ). This is all part of the Mystery Tradition, and goes deeply to our very core as members of a Clan, a Race, a People, or a Nation. An excellent book on the subject of the Divine King/Slain God is WESTERN INNER WORKINGS by William Gray. Dear Seraluna, Yes, I have seen the Robin of Sherwood series from England. I nearly fell out of my chair when Robin met Herne. You have no idea how close that series got to certain aspects of the Aridian Tradition (did you notice that Herne was played by an Italian actor?). At the sanctuary of Nemi in Medieval Italy, there were outlaw camps in the forests of the Alban Hill Region. Aradia lived with the outlaws at Nemi for a period of time, before she disappeared. The legend of the King of the Woods at Nemi, goes back to Antiquity. He was a outlaw and a guardian of the Grove. Because he was outlawed he often wore a hood, and was called the Hooded Man/the Hooded One. He became the symbol for the god of the forest, lord of the Trees, etc. He had to accept a challenge to his "kingship", which was always a fight to the death. In this aspect he represented the Slain God. As I stated in an earlier post, the Hooded One came after the Horned One of the Forest, and so was called his son. The Horned One was a Stag God. When Humans began to grow crops, the Animal God figure began to lose its high stature, and the Slain God was transferred into the crops, which were slain at the harvest. Blessings, Raven ---------- INNER TEACHINGS - THE HANGED MAN The title of the "Hanged Man" means, in an occult sense, "suspen- ded mind" because "man" and "mind" are from the sanskrit root (used by early occultists). The title refers also to the utter dependence of Human personality upon the Cosmic life. He hangs now as a co-worker with the Divine, having placed his own Ego out of the way of the Divine inflow. Only in this way can he attain the Higher Conscious- ness, and become useful to his People. The sacred tree of the grove represents the bridge to the other worlds, and it is the Consciousness which "hangs" upon the tree, which serves to unify Humankind with the Divine. The mental attitude suggested by the Hanged Man, then, is "Not my Will, but Thine". This is ever the position of the Adept, as, indeed, it is the position of every person who works in any field of applied science. It is an illusive, personal thing which is but the reflec- tion, or mask, of "Thy Will", which is the purpose or motive of the Cosmic Life - a Will absolutely free, and certain to be realized. The foundation which I am trying to lay here (having used many of Paul Foster Case's own words) is that of the willing sacrifice. If we go back far enough in Human History, we will find Human sacrifice. It is nothing to be proud of certainly, but it is nothing to hide from either. In the first note I explained why this practice was performed. What I did not address was how the sacrificed body was used. Because it was considered to be descended from other Divine Kings (the Breed- ing I spoke of), it was believed that the flesh and blood of the Slain God contained mystical properties. Therefore small bits of his flesh were distributed to the Clan, and diluted portions of his blood were consumed. In this way, the Clan was connected to his divine nature. In time, animal sacrifice replaced Human sacrifice, and later still plants served as the Slain God. But the practice of consuming the Slain God never changed. Today it is still performed in the ritual of cakes and wine, which represent the body and the blood of the Slain God (now Lord of the Harvest). In some Traditions the cakes symbolize the God and the wine symbolizes the Goddess (that is, their "essence"- ). This is all part of the Mystery Tradition, and goes deeply to our very core as members of a Clan, a Race, a People, or a Nation. An excellent book on the subject of the Divine King/Slain God is WESTERN INNER WORKINGS by William Gray. Dear Raven, What do you think of the view that, besides consuming a part of the Slain King's body, the people also spread the diluted blood and perhaps the body itself around the fields to sanctify them? It would also fertilize them, since a dead body contains a lot of nitrogen. Jana Dear Jana, Yes, that is exactly what was done with the majority of the body. I come very close to a violation of secrecy oaths with this, but...here goes. In the Autumn Equinox Rite there is perfor- med a Mystery Play in which the Divine Victim is symbolically slain. A skull is present at this rite, and symbolizes the former divine victim. A token fluid of the life essence of the new "King" is obtained, and mixed with a token portion of fluid from the High Priestess. This is placed in a bag and is buried in a sacred garden, where ritual plants are grown. Originally it would have hung in the Forest on a tree, to provide for a plentiful hunt, or buried in a cultivated field for abundant crops. Today we offer it up for the needs of our Clan, whatever they may happen to be at the time. In ancient times the Divine Victim was cut up into pieces and given to the soil. Small portions of his flesh and his blood were incorporated into a "communion" meal, and given to the Priest(ess)hood to distribute. Today we still perform this ancient rite, hidden within the ceremony of cakes and wine. Today the sacrifice comes from the Plant Kingdom, but the Human connection is still there, and the ancient current still flows through the Ceremony. As Humans evolved spiritually, so too did their practices. But nothing is forgotten, nothing is ever forgotten... Raven ---------- INNER TEACHINGS - THE TIDES OF POWER There are certain Tides of Power within the Bound Ether of the Earth which aid us in all of our works of Magic. The Stars, Sun, Planets and the Moon radiate their influence upon us through the Magnetic Sphere of the Earth. In Eastern Occultism these Tides are called the Tattvic Tides, and the medium through which they flow is called Prana. This is the substance just above Terrestrial Matter, known as Etheric Matter, of which there are two kinds: Free Ether & Bound Ether. Free Ether is that which surrounds the Sun, and through which pass the Earth and other Planets within its sphere of influence. Bound Ether is that which surrounds the Earth itself (or any planet) and may be called the Magnetic Sphere. As the Earth orbits the Sun, revolving on its axis as it does so, centers of stress occur in the Magnetic Sphere of the Earth. As a result there is a positive current of energy flowing from the East to the West, and a magnetic current passing from North to South during six months of the year (which reverses for the remaining six months). The "positive" currents emanate from the northern center, and the "negative" from the southern center. The Winter Solstice marks the beginning of the positive current which reverses after the Summer Solstice to negative. These currents of energy are marked by the Lesser Seasonal Rites of the Old Religion, occurring at the Solstices and Equinoxes The terms "positive" & "negative" refer to electrical and magnetic energies of an etheric nature, as well as to those ener- gies which we might call "waxing" and "waning". ---------- BEING "OF THE BLOOD" It was once believed that certain individuals, namely royalty or other spiritual leaders, were actually descended from the "gods" (or in some cases from non-Human Races such as the Elven or Fay). It is obvious from this that their blood was held to be very precious, since they were considered to be "Dedi-gods". Since they represented the spiritual base power of the Clan, it was important to preserve the purity of their Bloodline, and to ensure that it was passed along through the Generations. In those early times it was taught that the gifts of psychic abilities were maintained and transmitted by a direct blood link with the Priestesshood/Priesthood (who were themselves either direct descendants by bloodline, or were indirect by virtue of having "received" the Royal Blood). This is one reason why the Church ordered the slaying of whole families of Witches during the Inquisi- tion, in hopes of destroying the ancient Bloodlines. It is interesting to note that witches were very often associated with Fairies and other non-Human Races, and were considered to be different from Humans, in many European tales of Folklore. Symbolically, anyone who drank of the Blood of one of these Descendants was said to be "of the Blood" and could in turn, pass on the blood through ritual communion of the Wine and Cakes (which were anointed with the Royal Blood, of either a direct descendant, or indirect blood receiver). As the Old Religion grew, anyone who was born into the family of those who had been of the blood, were considered to be also, and this was the basic significance of being "hereditary" (along with being reborn among those who one had known and loved before). It is also interesting to note that the "cords" used in the Initiation Ceremony, are remnants of those cords which once bound the Sacrificial King. ---------- CONCERNING THE TOOLS & TRAPPINGS If one looks closely at the tools of the Craft, it is easy to see that they resemble the weapons of a Knight. The tools to which I am referring are the Athame, Chalice, Wand and pentacle (in the Aridian Tradition the athame is called the Spirit Blade, and bears different symbols as well as a slightly different aspect). The athame is symbolic of a Knights sword. The wand is a lance, the chalice is a helmet (turned upside down) and the pentacle is a shield. These Craft tools are the "weapons" of a spiritual warrior, or a Priest(ess) as in the tradition of a Shaolin. The cords of Initiation, as mentioned earlier, are remnants of the bindings which once held the Sacrificial King/Slain God, and mark an individual as a member of this ancient mystery tradition. The altar is symbolic of the portal, which is the tomb. It is the Gateway through to the other Realms. The ritual circle represents the unbroken Cycle of the year, which is at the heart of The Old Religion. The Watchtowers at the elemental quarters represent the portals to the higher Realms, which lay beyond this World. The Watchers them- selves represent the "awareness" of our Path, as it is imprinted upon the Planes ("watched", so to speak). There are many other such as- sociations, but I thought that I would mention just a few. These are not commonly known, or discussed, and the knowledge of them will soon disappear if someone doesn't pass them on. You may consider it Witch- lore, but it is quite a bit more... ---------- RAISING A PLANT FAMILIAR The purpose of this technique is to raise, or grow, a plant as a "familiar" (serving spirit) or as a magical plant. In ancient times, a small circle of stones was set around the chosen plant, to "bind" the numen there. Then a hole was dug down toward the roots (carefully) and a chosen power stone was set in place, to "charge" the plant. Today the technique has been expanded, but is still true to the original intent. You can begin with a seed, or young sprout. Simply prepare the soil for planting, in a secluded area, which is suited to the physical needs of the plant. Place a stone or crystal of your choice about three inches deep into the soil. Quartz crystals are a good choice, but you may wish to consult a table of correspondences for various stones, etc. Next fill in the soil over the stone, and plant the seed (or sprout) as is appropriate. Then lay a circle of 8 stones around the plant site. At each of the four elemental quarters place a crystal of the same type as the one you buried (these four are part of the 8 forming the circle). The other stones may be of any kind you wish, as long as they compliment each other, in relationship to their occult nature. Space the stones to allow for the growth of the plant. I will give two techniques for the raising of a plant familiar. These will show you how to establish contact with the plant numen, and how to communicate your purposes to the plant familiar. In this way the plant will become charged, and conscious of your needs. Then you will have a physical and spiritual helper, for your works of magic and healing. This technique is important to magical work involving herbs. Dry herbs in an herb store are not charged (in most cases) and can only serve through their remaining physical properties. There is, however, the placebo effect to consider, as well as coincidence, and self-delu- sion. These have been used successfully for quite some time. I will not deal with these here, as most popular Authors are doing an excel- lent job of passing this off on us as authentic spells. I intend to give you the actual techniques which empower herbs, and whose effects were the basis for the powers attributed to herbs from ancient times. No Con, just the facts. Method 1: If planting by seed, wait 7 days after the sprout appears to proceed with the following (if a young plant, wait 7 days after plan- ting it). Remove the stones between the quarter stones, and plant a seed at each point. Next bury the quarter stones where they lay, at least an inch deep. The seeds may be of the same type as the plant within the circle, or an assortment. Each day, place both palms upon the ground within the circle, forming a triangle with fingertips (index fingers touching & thumbs touching). The stem of the plant will be in the open area of the triangle, centered between your hands. Using your imagination & visualization abilities, sense your power flowing out through your arms, from your personal power center (just below the navel for women, and at the solar plexus for men). You must also talk to the plant and send it visuals, communicating your needs and desires through mental images. You must take good care of the plant from this point on, and keep it from harm. To create a strong bond with your plant familiar, you can add 3 drops of your own blood to a quart of water, and use this to water the plant as needed. Magically, you have first increased the level of the numen throu- gh the crystals. Secondly, you have extended its power and influence to the other plants. This is because these plants became alive under the influence of the center crystal and plant. They were also bathed in a cross quarter current of energy, controlled from the center entity, through the quarter crystals. If you need the physical parts an herb for your spells, potions or whatever, then use only the plants enclosed within the original circle of stones, and never the center plant. The center plant IS the familiar, and the others are merely extensions of it. The final step in creating this plant familiar, is to establish your "link" and your "rapport". To do this, you must sit comfortably before the plant, and stare at it. Allow your eyes to lose focus and your vision to blur. In this state, observe the shape of the plant, trying to leave your mind blank. The plant will "send" you an image as you stare. You will receive this as a distortion of the plant's shape, so that it will begin to resemble some other creature such as an animal or an insect. This new shape is the spirit of the plant, and you will employ this image as you work with the familiar. The familiar can give you extra power in any magical work, when- ever you summon it. "House plants" can become protective entities for your home through plant magic. Plants can be given as gifts, charged for a special purpose. To summon the familiar, you simply imagine your plant in it's setting, and visualize it becoming the spirit creature. Mentally call it to yourself, and allow it to enter into your personal power center. To empower through the familiar, mentally send in into any herbs which you are charging (instructing it as to the desired effect) and imagine that it passes power to them, imagine them glowing after contact with the familiar. When you are finished, always return the familiar to the plant. ---------- MOON LORE It was once believed that: 1. The shadowed areas of the Moon were forests where the Goddess Diana hunted, and the bright areas were plains. 2. That the Moon was a spinning wheel, upon which the Goddess spun the lives of Men and Women. 3. That the Moon was a gem worn by the Goddess, and that the stars were decorations upon Her gown. The names by which the Moon was called, as she appeared in each month of the year, varied with the significance of the seasonal month. In October and November we see the need for preparations for Winter. In February, the wolves were drawing closer to the villages looking for food. In March the sounds of ravens signaled the coming of Spring. April through June we see the signs of growing things. In July, the Moon marks the signs of horns and antlers upon young animals. In September, of course, we find that the time is marked to reap the Harvest. Names of the Moon: October: Hunter's Moon November: Larder Moon December: Long Night Moon January: Winter Moon February: Wolf Moon March: Raven Moon April: Meadow Moon May: Flower Moon June: Rose Moon July: Antler Moon August: Piscary Moon September: Harvest Moon ---------- MOON MAGIC The accumulation and direction of the subtle forces of the moon, is one of the arts of Witchcraft. Moon magic is a personal art, even though there are basic guidelines. In ancient times, witches held the position of the Moon priestesses/priests. In coastal regions, and upon islands, witches were also Sea Priestesses/Priests. The use of water from the sea was an important aspect in Moon Magic (salt being a crystal form). The "charging" of water, and the release of the "char- ge" through evaporation, was an important aspect. So too was the soaking of woods and herbs in sea water, which were later dried, and burned as incenses and offerings. Two excellent books on this subject are MOON MAGIC and THE SEA PRIESTESS by Dion Fortune. The use of Portals to gain access to the Lunar Realms, and the building of magical images there, is a very important aspect of Moon Magic. The actual "essence" of the power used in Moon Magic, origin- ates out among the stars. The Sun draws in the stellar influences and transmits them into our Solar System. The Planets within our System absorb this energy which then merges with their own vibrations or energies. The Planets, in turn, then emanate a composite energy within our Solar System. Each Planet's energy or vibratory pattern is unique, and influences other planetary bodies and forces, within each planet's sphere of influence. This is the basis of Astrology and Planetary correspondences in Magic (this is how and why it works). The Moon is the focal point of power upon the Earth. The Moon absorbs, condenses, and channels all of these forces, which are then carried to our Plan- et, upon the Lunar Light Spectrum. Agrippa, a 15th Century magician, understood these principles when he wrote "...but the Moon, the nearest to the heavenly influ- ences, by the swiftness of her course, is joined to the sun, and the other planets and stars, as a conception, bringing them forth to the inferior world, as being next to itself, for all the stars have in- fluence on it, being the last receiver, which afterwards communicates the influence of all superiors to these inferiors, and pours them forth upon the Earth..." Aradia, the Holy Strega, told her followers to seek the Moon above all others, for the purposes of Magic. In the closing prayer of the Full Moon Ritual, we find these words which Aradia's followers were later to have written : " O' Goddess of the Moon...teach us your ancient mysteries.- .. that the Holy Strega spoke of, for I believe the Strega's story, when she told us to entreat Thee, told us when we seek for Knowledge, to seek and find Thee above all oth- ers". Agrippa understood this also, when he wrote, "Therefore. her (the moon) motion is to be observed before the others, as the parent of all conception......hence it is, that without the Moon intermediating, we cannot at any time attract the power of the superiors..." What Agrippa spoke of, is what witches have known for Ages: The Moon is the focal point of power upon the Earth. Without the Moon we cannot make use of the Universal Forces beyond her. In Moon Magic, the ritual altar is the focal point for the Lunar forces which are drawn upon. Women are the vessels for Lunar Energy, receiving and directing the magical force. Men can also become lunar vessels, but women are much better suited (as their biology is more attuned to the Moon's Cycles, than are men's biology). The method used by both women and men will be given in another note (part 4 or 5, depending upon available space). The Moon altar is placed facing the West Quarter. The altar itself should be round, but a square or a rectangle is OK. In the center of the altar, place a bowl of saltwater. A white sea shell is then set into the center of the bowl. As this is done, whisper the name of the Goddess who rules the current phase of the Moon, under which you are working. The new moon belongs to Diana (De-ah-nah), the Full Moon to Jana (Jah-nah) and the waning Moon to Umbrea. Around the bottom of the bowl. set nine white shells, forming a crescent (horns upward, as in a smile). If the magic is for the gain of something, place the shells from right to left. If the magic is for the removal, or loss of something, then place the shells from left to right. As each shell is placed, chant the name of the Goddess who presides over the goal of the magical influence you desire. Matters concerning "beginnings" are under Diana. Matters involving "forces", energies, or powers are under the influence of Jana. Matters of Death, decline, and stagnation are ruled by Umbrea. Censers of Moon Incense are placed around the bowl, upon the altar, forming a triangle (so you have 3 incense containers forming a triangle, with the Moon Bowl in its center). A reversed triangle (V) is formed for manifestations desired upon the physical plane. Upright triangles (A) are formed for manifestation upon the astral plane. During the magical work, the energy is focused into the altar bowl (or moon bowl, as it is often called). This can be done in several different ways. In group rituals, members may point their ritual blades at the Priestess, who stands before the altar. The members visualize their energy flowing from their themselves, through their blades, and into the aura of the Priestess. The Priestess then visualizes this collective energy flowing from herself, through her own blade, into the moon bowl. Or she may simply place her palms over the bowl and focus the energy out through her hands. During this technique, she may recite an incantation, stating the purpose of the "charge", or the group may chant the spell's intent. One of the ways in which energy can be raised for this technique, is through deep breathing. Each person draws in air slowly and deeply, and exhales as they visualize the energy flowing outward through their ritual blades, or their hands. Eastern Mystics teach that the Ether of our planet can be drawn in through the breath, and condensed as pure energy. This they call "Prana". Another method is to "enchant" the water. Begin by passing your right hand, palm down, over the bowl in a clockwise manner. Perform nine passes, then do the same with your left hand. You will need to create a Chant which will serve to describe your intent. It can be a simple rhyme, or whatever you want. As you chant, blow gently upon the water slightly disturbing the surface. Formulate the incantation to be as descriptive as you can, about what you desire. Once you have spoken the incantation into the bowl, it is time to release the "charge". One technique for this is to boil the water, and observe the steam as it evaporates. Boil it until all of the water is gone. As the steam rises up, repeat your incantation, and watch the steam as it moves upward. It is carrying off your magic, so that it may take effect. Think this as you watch it (thoughts ARE things). Another very old method is to pour out the contents of the bowl into a stream, or river. As you do this, you recite a simple rhyme spell, such as : " Water to water a witch's spell I give this stream to speed it well" Receiving the Moon's Light: (for women) The Priestess receiving the Full Moon, will need an assistant. The assistant will require a silver disk, smooth and highly polished. If absolutely necessary, a small hand mirror may be used in its place. The Priestess will stand or kneel before the altar, with her head bowed down. The assistant will part her hair at the base of the skull, using water or oil to help separate the hair, if it is short. While the priestess visualizes the form of the Goddess merging from behind, into her own form, the assistant will reflect the Moon's light upon the base of the skull, using the silver disk. You will find that this is quite difficult in city light pollution, and works best in a country setting, or a desert. Once the Priestess receives the Moon she can channel it into the Moon bowl, or she can "store" it within her Being for seven days. This light is pure Lunar energy, and can be "impregnated" with whatever "thoughtform" the priestess des- ires. Receiving the Moon's light: (for men) The Priest receiving the Full Moon, does not need an assistant, but may choose one if he desires. Men cannot receive the Moon in the same manner as women, nor should they visualize the Goddess merging with them. The Priest will stand, or kneel, before the altar with his head slightly bowed. Using a polished brass disk, the Moon's light is reflected upon his forehead. At this point the Priest will visualize himself as the Full Moon itself. Once the light is received, the Priest can channel it into the bowl. Men do not "hold" Moon Light very well, and it is best to channel it off before the seven day period, which the Priestess enjoys. There are several ways for a woman to receive the Moon's Light, without any assistant. The technique I gave in this subject note, is just one of the magical techniques. The Moon may also be received in a religious setting (no magic intended, just a blessing or a union with Deity). In these modern times, you can set up a mirror behind you, and angle it so that it reflects down upon you, if you desire to try the magical technique. One of the old ways of non-magical union, was for the woman to lay nude beneath the Full Moon in the Full Moon Goddess Posture. This posture is also referred to as the Star Goddess Posture, and is an X formation, arms and legs spread out wide. The woman anoints herself with an oil of the Moon, just below her navel (forming a crescent with the oil). As she lays upon the earth, she will look up into the Moon, and slowly draw in the muscles of her abdomen, as she mentally pictures that she is drawing down the light of the Moon, into herself. Just as men draw power into themselves through the solar plexus, a woman draws power into herself through the navel region ("pit of the stomach" kind of thing. This is the center of a woman). This is just one method, but it can be a powerful experience. ---------- ARADIA This is the Legend of Aradia, who was called the Holy Strega (pronounced Stray-gah). Strega is the Italian word for witch. She lived in Italy during the 14th Century, and brought about the revival of the Old Religion, among the peasants who were enslaved by Feudal Lords and the Church. Charles Leland wrote a book in 1894 called ARADIA, gospel of the witches. Unfortunately, his material is a Christianized distortion of the original text. In 1508 A.D. the Italian Inquisitor Bernardo Rategno (having studied witch trial records preserved in the archives of the Inquis- ition at Comom) wrote a text called the Tractatus de Strigibus. In this text he states that the "witches sect" had begun to "expand" about 150 years earlier. This would place the "expansion" around 1350 (14th Century). In the Aridian Tradition we believe that this confirms the legend of Aradia. In Leland's ARADIA, he also tells the tale of a woman who travelled about Italy teaching The Old Religion. According to this story, there once was a young woman from the town of Volterra who "travelled far and wide, teaching and preaching the religion of old times, the religion of Diana, the Queen of the fairies and of the Moon, the goddess of the poor and oppressed". Leland goes on to say "and the fame of her wisdom and beauty went forth over all the land, and people worshipped her, calling her La Bella Pellegrina (the beautiful Pilgrim)". In the Aridian Tradition, we believe that this legend is based upon the true life story of Aradia. We consider her to have been a great Teacher, and a type of Avatar, but we do not worship her. We do, however, honor her each Full Moon by the telling of her Legend, and by drinking to her memory. According to our teachings, Aradia formed covens (called groves) in central Italy. She taught the Old Religion of Nature, and of Magic, but above all she taught a Spirituality. Beyond this she gave hope to peasants whose lives were made miserable, in service to the wealthy class. She taught them personal power, and personal value, in an Age when the Church taught them shame and sin, and servitude. Aradia returned their beautiful pagan heritage back to them once again. A heritage which was preserved in secret by courageous Priests and Priestesses of the Old Religion. Aradia taught Harmony with Nature, and directed her followers to merge with Nature through Seasonal Rites, and ritual observation of the Full Moon. The "Charge" of the Goddess, known to many Wiccans, originally came from the Italian. The beginning paragraph can be found in Lel- and's text. Doreen Valiente now claims to have written it sometime during the 1950's or early 1960's. Leland recounted a portion of it in 1894, with an english translation from the Italian. I copied from a copy of it which came to the U.S. in 1946. So, this is all very curious to me!! In the next note I will post the Italian Charge, as written by the followers of Aradia, during the late 14th Century (well, a public version of it, anyway). FROM DOMI O'BRIEN Part of the problem, Raven, was that Leland was a Marxist, and Aradia was written less to record the legend than to place his political theory in a folklore frame. FROM RAVEN GRIMASSI I've heard that theory about Leland, and its influence on his book. I do not personally believe that it is correct. When you read all of Leland's books, it is quite clear that he was extremely fascinated by the Witchlore of Italy. This was a man who spent many years of his life in Italy, and elsewhere, tracking and recording myth after myth. He spent a lot of time with Lady Vere de Vere (Italian Folklorist) and Professor Milani (Director of the Archaeological Museum in Florence) recording Italian Witchlore. His intense love of this subject is evident in his book LEGENDS OF FLORENCE, as well as several of his other books, including ETRUSCAN MAGIC & OCCULT REMEDIES. Whatever his political leanings may have been, ARADIA is more the result of a con job by the so-called "witch" Maddalena (and his obsession with preserving the old Witchlore), than it is anything else. It is curious that actual elements of true Italian Witchcraft were obtained by Mad- dalena. She was well known by the Craft, in those days, as a Gypsy Con-Artist, but clearly she did come upon some valid aspects of The Old Religion. Most of the text is utter nonsense, but there is enough there to make you go Hmmmmmmm. ---------- THE CHARGE OF ARADIA (To her followers) "Whenever you have need of anything, once in the month when the Moon is full, then shall you gather in some deserted place, or within the woods, and give worship to She who is Queen of all Witches. Gather then all together, within a circle, and secrets that are as yet unknown shall be rev- ealed. And you must be free within your mind and your spirit, and as a sign that you are truly free, you shall be naked in your rites. For therein is the essence of spirit, and a knowledge of joy. Be true unto your own beliefs, and keep to the Ways, beyond all obstacles. For ours is the Key to the Mysteries, and the Cycle of Rebirth, which opens the way unto the Womb of Enlightenment. I am the Spirit of Witches All, and this is Joy and Peace and Harmony. In life does the Queen of all Witches reveal the Knowledge of Spirit. And from Death does the Queen deliver you unto peace, and renew your Life again. When I shall have departed from this World, in memory of me, make cakes of grain, wine, and honey. These shall you fashion in the shape of the Moon, and partake of these cakes, and of wine, all in my memory. Offerings then shall you give unto She is who our Mother. For She is the beauty of the earth, and the white Moon among the heavens, and the Mystery which gives Life, and ever calls us to gather in Her name. Let Her worship be the ways within your heart, for all acts of love and pleas- ure, are as rituals unto the Goddess. But to all who seek Her, know that your seeking and yearning shall avail you not, until you know the Mystery. For if that which you seek, is not found within you, you shall never find it without. For She has been with you since you entered into the Ways, and She is that which awaits attainment, and your journeys end". This is an altered version of the full length "Charge" as it appears in the Aridian Tradition. On the next note I will post Lel- and's version, which was written in 1894. Following this I will post one of the popular Wiccan versions, which will probably be better recognized. I am sorry that I cannot post the actual Charge, but this one comes very close (without dishonoring my oath of Initiation). (Leland's version - written in 1890): "When I shall have departed from this world, whenever ye have need of anything, once in the month, and when the Moon is full, ye shall assemble in some secret place, or in a forest all together join to adore the potent spirit of your Queen, my Mother, great Diana. She who fain would learn all sorcery yet has not won its deepest secrets, them my mother will teach her, in truth all things as yet unknown. And ye shall be freed from slavery, and so shall ye be free in everything; and as a sign that ye are truly free, ye shall be naked in your rites, both men and women also: this shall last until the last of your oppressors shall be dead; and ye shall make the game of Benevento, extinguishing the lights, and after that shall hold your supper thus:" (Leland goes on with the conjuration, and blessing, of the meal for the Sabbat, and then concludes the Charge) "And thus shall it be done: all shall sit down to the supper all naked, men and women, and, the feast over, they shall dance, sing, make music, and then love in the darkness, with all the lights extinguished; for it is the Spirit of Diana who extinguishes them, and so they will dance and make music in her praise". I just thought that you might find this of interest. There are many verses in Leland's writing, which Doreen Valiente now claims to have written for Gerald Gardner, circa 1958. (Text from: ARADIA, gospel of the witches by Charles Leland) FROM: JANA HOLLINGSWORTH A version of the Charge of the Goddess appeared in Charles Godfrey Leland's ARADIA around the turn of the century. According to Raven Grimassi, it was known among Italian traditional Witches long before that. The Leland publication alone would indicate that Valiente merely rewrote it. The Charge of the Goddess--who wrote it? Was Leland the first one to note it? Did Doreen create It in Fifty-eight? Or did they from Italy quote it? FROM: JANICE BURGESS Doreen adapted and expanded the Charge from a bit that is in Aradia. The part in Aradia is not nearly as beautifully written and doesn't contain as much text as Dor- een's adaption. It also contains things that modern pagans probably wouldn't understand cul- turally or want to include as they wouldn't apply well at this point in time. I'm a fanatic about where things come from and always like to know although, like you, it doesn't affect my enjoyment of the work at all. I like getting credit for what I've written and like to extend the courtesy to others as well, so I guess that's part of it. I also just went through a lot of problems with a book I have coming out this fall. I wanted to include things like chants and songs I've been hearing for over 10 years in the appendix. I had to track down who had done what and get permis- sions from all concerned. Most of them I wanted to use had been done by friends. A few I had no idea who had written them. It was really a mess. It cured me from ever jotting something down and using it and taking it for granted I would remem- ber where it had come from later on. FROM RAVEN GRIMASSI Yes, Doreen based her version of the Charge on ARADIA by Leland (among other writings as well). The beginning of the Charge ("once in the month and better it be when the Moon is Full...") comes from Aradia's ins- tructions to her followers. In Leland's ARADIA it is in Chapter 1, being the last English trans- lation there. I will provide the first section here for you, directly from Leland's book: "...whenever ye have need of anything, once in the month and when the moon is full, ye shall assemble in some desert place, or in a forest all together join to adore the potent spirit of your Queen, My Mother, great Diana. She who fain would learn all sorcery yet has not won its deepest secrets, them my Mother will teach her, in truth all things as yet unknown. And ye shall be free from slavery, and so shall ye be free in every- thing; and as the sign that ye are truly free, you shall be naked in your rites...". Remember, this was first published in 1890. Seem somehow fam- iliar? ---------- ITALIAN CRAFT As an introduction to this subject, I'll begin with some excerpts from a few books. In the LEGENDS OF FLORENCE we find these words by Charles Leland (written 1895): "The witches of Italy form a class who are the repositories of all the folklore; but, what is not at all generally known they also keep as strict secrets an immense number of legends of their own, which have nothing in common with the nursery or popular tales, such as are commonly collected and published....Lady Vere de Vere, who has investigated witch- craft as it exists in the Italian Tyrol, in an admirable article in La Rivista of Rome (June 1894) tells us that "the Community of Italian Witches is regulated by laws, trad- itions, and customs of the most secret kind, possessing special recipes for sorcery" which is perfectly true. Having been free of the community for years, I can speak from experience. The more occult and singular of their secrets are naturally not of a nature to be published..." After consulting with Lady Vere de Vere (Italian Folklorist) and Professor Milani (Director of the Archaeological Museum in Florence) Leland wrote (concerning Italian Witchlore), "That this is of great antiquity is clear, for out of this enchanted forest of Italian Witchcraft and mystical sorcery, there never came anything, great or small, which was not at least of the Bronze, if not Neolithic Age". In his book, ARADIA, Leland writes of the popular Christian image of the witch, but goes on to say: "But the Italian Strega or sorceress is in certain respects a different character from these. In most cases she comes of a family in which her calling or art has been practiced for many generations..." In Leland's ETRUSCAN MAGIC & OCCULT REMEDIES we find these statements: "Among the cliffs and scrubby moors of northern Italy there dwell today descendants of an ancient people whose stubborn and exotic mystery has provoked historians to conflict, linguists to despair, archaeologists to poetry, and poets to philosophy. For almost two thousand years the astounding secret of their existence was kept without living whisper save in the anachronistic echoes, recorded for the first time in this book, of Tuscan Catholic peasant voices calling through unbroken generations upon the pagan deities of their remar- kable ancestors..." Later in this book he states "But I was much more astonished to find that in Tuscany, the most enlightened portion of Italy, under all Roman rule, an old pagan faith, or something like it, has existed to a most extraordinary degree. For it is really not a mere chance survival of superstitions here and there, as in England or France, but a complete system, as this work will abundantly prove". ---------- LA VECCHIA RELIGIONE (The Old Religion) ITALIAN WORD ENGLISH WORD Strega (Stray-gah) Witch (female) Stregone (Stray-go-nay) Witch (male) Treguenda (Tray-gwen-dah) Sabbat Veglione (Vay-yoe-nay) Esbat Stregeria (Stray-gare-e-a) Witchcraft Boschetto (Bos-ket-oh) Coven La Vecchia (La-vek-kia) (slang) The Craft The Old Religion of Italy is called La Vecchia Religione (La-vek- -kia Re-lidge-oh-nay). In La Vecchia, female witches are called Strega and males are called Stregone. In the structure of a Boschetto there are several offices or positions. Most groups are run by a woman who is a High Priestess, assisted by a man who is a High Priest. The High Priestess has an assistant known as Dama D'onore (Dama-Dee-o-nor-ay). This is like a Queen's attendant except that it the Goddess who she actually is serving during the ritual, represented by the High Pries- tess. The High Priest has an assistant called "La Guardia" who is the Guardian of the ritual area. In the days of the Inquisition it was his duty to protect the High Priestess and High Priest if the Christians should attack the ritual gathering. It was also his responsibility to keep the new initiates from disrupting the ritual, by helping move them along as needs be. Both positions of service are "in training" for the respective positions of High Priestess and High Priest. There are four degrees, or stages, of attainment, within La Vecchia. The 1st is a time of training and orientation. The 2nd is becoming a Priestess or a Priest of the Old Ways. The 3rd is becoming a High Priestess or High Priest. The 4th is when a person actually dies, and we say that she, or he, has taken 4th Degree. Over all of the 3 Degrees, is the position of Grimas (Gree-mahs). A Grimas oversees the Tradition as a whole, and is responsible for its preservation. A Grimas makes sure that nothing is ever written out of any ritual material, or edited from any oral teaching. In Italy, this is a much respected position, and a Grimas always has the final word in all matters regarding the preservation of the Ways. This position can be held by either a woman or a man, though for the most part, La Vecchia is a matriarchal system. A High Priestess always has "auth- ority" over that of a High Priest. However, a Grimas (regardless of gender) always has "authority" over the High Priestess, in matters concerning the integrity of the Tradition as a whole. Each Clan has a Grimas, and this is why the Religion has survived intact down through the Ages. Preservation of the Ways of a People requires a structured System. Without this you have, well, look around... ---------- THE LARE HOUSE In the Aridian Tradition, we have a belief in spirits known as the Lare (Lar-ay), or Lasa (Lah-sah). In a way, these are spirits who carry the memories of our Ancestors. They are the Collective Con- sciousness of our Clans. They are also Nature spirits similar to the Elven or Fay, but are considered a different Race. The Lasa appear in Etruscan Mythology and the Lare appear in Roman Mythology. In the Aridian Mythos there is a blending of the two. Aridian Initiates are required to obtain, or to construct, a Lare house, as part of their training. These spirits houses can be of any design, however the Roman Temple design is the most common. These are simply two pillars supporting a cross beam. At the base is a small protruding ledge upon which offerings may be placed. As part of the Community rites a votive candle is placed on the ledge. Whenever someone in the Family has a birthday, or some other personal event, the candle is lit as part of the Celebration. The children of our Clan seem to enjoy lighting the candles, and sharing in the tradition of the Lare. Offerings are placed before the Lare house on each of the Season- al Rites, and each Full Moon. These are usually offerings of grain, or nectar. Nectar is a mixture of milk, honey and wine. As part of the Rite of the Lare, the names of our ancestors (and "departed" Clan members) are recalled in a "toast" before the Lare House. This tradit- ional rite has served to preserve the lines of descent back into Time. We view the Lare as many spirits who comprise a single Conscious- ness. In other words as a Community of spirits. They are connected to us through our worship of the Nature and the Old Ways, and through that of our Ancestors. Through our practices they recognize us as those who gathered in ancient times, and they "follow" us through Time. This is a very primitive belief, but is still honored today. ---------- ARIDIAN PANTHEON I thought that you might like to know about some of the Gods and Goddesses of the Aridian Tradition. The list given here is only partial, and I am using the common names of these Deities. In the Aridian Tradition the original names of the Deities are not revealed until the Second Degree Initiation (as they are considered names of the Priestess Craft/Priest Craft). These are names, however, which we do use: The Goddesses TANA: the Star Goddess (Universal Aspect) JANA: Goddess of the Moon, and the Mysteries of the Moon FANA: Goddess of the Earth, and of Fertility FORTUNA: Goddess of Fortune, Fate, and Luck CARMEN/CARMINA: Goddess of the casting of spells, and of Enchantments DIANA: The Triad Goddess: Maiden, Mother, Crone. Goddess of outcasts, outlaws, slaves, and oppressed Peoples. Diana encompasses many other Goddesses, and is the name also used for the Moon Goddess, Earth Goddess, and Star Goddess. UMBRIA: Goddess of the Shadows. Umbria is the Dark Aspect of the Goddess (waning moon), and rules with DIS in the Underworld. Goddess of things which are Hidden, or secret. NOX: Goddess of the Night. Nox rules the Darkness which falls upon the Earth, and all within it. She is the sister of Umbria, and shares her associations (except for the Underworld connection). Nox can be a bit on the sinister side if care is not taken. ASTREA: Goddess of Justice COPIA: Goddess of Abundance and Plenty PERTUNDA: Goddess of sexual love and sexual pleasure The Gods JANUS: God of the Sun, and god of all beginnings, portals, doorways, and thresholds. It was Janus who brought the elements into harmony from Chaos. FAUNUS: Nature God of Fertility (similar to Pan) TANUS: The Star God (Universal Aspect) TERMINUS: God of boundaries, protector of personal property DIANUS: Nature God of Fertility, similar to Faunus except that he is a Stag God instead of a Goat God. He is also known by the name Kern or Cern. FEBRUUS: God of purification and initiation COMUS: God of revelry, feasting, drinking, and the "pleasures of the night". CORVUS: Messenger of the Gods. Also the Trickster God, known as Raven. LUPERCUS: The Wolf God ANTEROS: God of Passion and Sexual Unions VIRBIUS: God of outcasts and outlaws. Guardian of Sanctuaries FROM: JANA HOLLINGSWORTH Are the secret names of the deities in Etruscan? Or are you not allowed to say? FROM: RAVEN GRIMASSI I cannot go into this completely, but I can say that many of the names can be found in the Etruscan Pantheon. Some of the names are not exact matches, but are so close that they surely must have a common origin. There are a couple of names, however, which seem to be unique unto themselves. The curious thing about our relationship to Etruscan, is that we do not share the basic Mythos. Little is known publicly of Etruscan Mythology, but in many cases what we do know does not match Aridian Mythology. Their Underworld mythos, for example, is completely different. On the other hand, many of the natures of the Gods & Goddesses do seem to match. Per- haps it is a case of ancient Roman eclecticism, but then again we do not consider our Tradition to have grown out of Roman Religion entirely. Curious... ---------- WATER SCRYING This technique is a very ancient one, and common among Shamanis- tic Traditions. Divination is the ability to see what patterns are forming towards manifestation. What you "see" is actually what is likely to occur if nothing changes the pattern being "woven". Here is a technique which I teach: Pour some bottled water into a cereal bowl. Mix either a blue or a green food color into the water, so that the liquid is dark enough to hide the bottom of the bowl. At this point you have a reflective surface. Place two candles as your source of light, so that the light does not reflect upon the liquid (off a foot or two, in front of you should do it). Next is a series of hand passes over the liquid, slowly and deliberately. Magically speaking, the right hand is of an electrical nature/active charge, and the left hand is of a magnetic/receptive charge. Right handed pass will strengthen the image and left handed passes will attract the image to form. Begin by making left handed passes over the bowl, in a clockwise circle, just a few inches above the water (palms open and facing down). Stop, and gaze into the dark liquid, not At the liquid, but INTO the liquid. You will need to repeat these passes as you go, from time to time. Alternate between the left hand and the right hand. This requires patience, and time. Use your intuition as you sit before the bowl. Make sure the area is quiet and there are no distractions. Drinking some Rosemary tea, prior to Divination, can aid in the work. There are several herbs which aid the Psychic Mind, this is just one of them (careful though, Rosemary can be toxic in large quan- tities). ---------- ELEMENTALS In the case of an artificially created elemental, you must specifically state the date in which it will cease to exist. If you do not, it is quite likely that the elemental will move off into the astral, and begin to manifest there. It does not require a name in order to exist. The purpose for giving it a name, is to have some control over it, while it serves its designed purpose. Whether it survives as a permanent, and separate entity on the Astral Plane, is dependent upon many factors. The danger here is, though, that it is still connected to its "creator", and once established upon the Planes, can effect the creator in return. This is why it is essential that its lifespan be stated once it is created, and a method for making sure that it "ceases to be" must be ready as well. Usually, this is done by making a hollow image of the elemental and filling it with a magical condenser. Once "charged", by simply pouring out a bit of the condenser at a time, the elemental will ebb away. Once the fluid is gone, so too is the artificial elemental. Now, as to the ethics of all of this ..... ---------- BEFANA - A "CHRISTMAS WITCH" Just wanted to share an old custom from Italy, concerning a witch during the Yule/Christmas Season. Though purely pagan,it is still a part of the Season there (among Christians and Pagans alike). In Italy there is a figure similar to Santa Claus, except that she is a witch named Befana. On January 6th, children set out stockings to be filled by the "good witch" Befana. She has a consort who accompanies her (usually in Festival Parades) named Befano. Early in the evening an indeterminate number of people gather, and Befana takes to the streets accompanied by her husband and entourage. She is accompanied by a makeshift band of 3 or 4 musicians, and a live horse. They will go from house to house, singing the Befana song. Having done this, the Befana and her company receive a glass of wine, or a bite to eat, and continue on. In a book by Carol Field (celebrating Italy) Befana is associated with Hecate. An etching by Bartolomeo Pinelli in 1825, shows Befana as the Mother Goddess seated and surrounded by fruits, grains, and other items of the Harvest. The celebration of Befana ends in a burning in effigy. Upon a hill a pyramid of corn sheaves, brushwood, and pine branches are piled. The effigy of Befana is placed on top, and fire is set to the wood. Chestnuts are tossed in as symbols of fertility. Custom says that if the smoke blows to the West, then the crops will be poor. If to the East, it is an omen of a year of abun- dance. This has many similarities to the Slain God Mythos. This rite is not one of punishment, but one of replenishing the Earth through returning the Life Giver, Herself. In Italy today, candy images of Befana, and statues are available during the Season. My mother says that Befana and Befano are remnants of the old God & Goddess of the Witch Clans, preserved by witches from the time of the Persecution. Seems likely when you do some research. There are two books (written in Italian) which present the associations of Befana with various seasonal rites. These are; The Sacred Day (a book of Festivals) by Franco Cardini. The Calendar: festivals, myths, legends, and rites of the year (also by Cardini - professor of History at the University of Florence). The words to the song follow, however something is lost in the translation (as they say). Also, even in the Italian there is little attempt at rhyme: "Upon the wind the snow is falling and is blown on the wind before, and with a light step she descends to us, a witch that is dear to you all a witch that many here love who comes every year to find you she has arrived with us 'la Befana' every heart is full of joy from among the valley, villages, and countryside our Befana has arrived here she has brought a great sackful of gifts that she wants to give to you dear children that promise to be good for their mothers and fathers." (tempo changes here, and another verse begins) "and now friends you that are here we want to sing and dance and a ballet we want to do with the Befana and Befano and we want to salute you all friends we shall always remain and the Befana before she goes wishes you all happiness and prosperity". This is repeated twice. Another part of the custom which I neglected to mention deals with the children preparing for the arrival of Befana (before the festivities). Each child writes his or her wishes upon a piece of paper and places it in the fireplace, allowing the small bit of paper to float up the chimney. My mother says that the Befana customs differ somewhat from region to region, in Italy. I know that in Naples, the street fes- tivals are no longer commonplace, and I hear that in the region of Val d' Aosta the Befana celebrations have all but vanished. Still, the custom survives (due to the Children, no doubt). The Old Lady is still going strong! ---------- HISTORICAL BACKGROUND For those who expressed interest in the Aridian Tradition, I would like to share the following historical background material: In 30 B.C. (common era) the Roman poet Horace, wrote a work which is called the Epodes of Horace. In part, it is a dialogue between he and a witch (from Naples,Italy) named Canidia. In epode 5 he assoc- iates Proserpine and Diana with witches in a Mystery Cult. In epode 17 he also names these goddesses as "Patron" goddesses of Witchcraft, and states that witches use a book called Libros Carminum by which they "call down the moon", make philtres and evoke spirits. Other Roman writers of the Era such as Lucan and Ovid clearly support the theme of Horace's writings. From this we can conclude that the association of witches with Diana was common knowledge. The association of Proserpine with the Old Ways is important also, as can be seen in the Underworld mythos/descent legend. Bear in mind that this is being said in 30 B.C. in Italy (not in the 1950's of Gerald Gardner). As will be seen here, the association of Diana with Italian witches, will come to be called "The society of Diana". Epode 5 : "...Night and Diana, who command silence when secret myst- eries are performed, now aid me: now turn your vengeance and influence against my enemies' houses..." Epode 17: (to Canidia) "Now already I yield to your mighty art, and suppliant beseech you by the realms of Proserpine, and by the powers of Diana, not to be provoked, and by your books of enchantments that are able to call down the fixed stars from heaven Canidia, at length spare your magic words, and turn backward your swift wheel..." (Canidia replies) "...must I, who can move waxen images and call down the Moon from the sky by my spells, who can raise the vaporous dead, and mix a draught of love, lament the effect of my art availing nothing upon you?" So, you can see that this association of Diana with Italian witches is quite old. Also note the use of the term "call down the Moon" with the Italian witch Canidia. FROM ROBERT THOMAS It should be noted for the record that Horace was writing a satire in the Epodes, rather than a study on witchcraft. This indicates that the things in it were not his own inventions (except maybe the book-name) but were public opinion of the times. The concept of drawing down the moon can be traced back to the witches of Thessaly, and is mentioned as early as 300 BCE in Greek literature. Also, the "popular" witch (as opposed to the actual witch) was almost always female and worked exclusively with the chthonic powers (i.e., the scary ones) like Night (Nyx), the Furies, the Harpies, Hekate, Diana, Selene, etc. etc. as opposed to the Olympian gods. FROM RAVEN GRIMASSI Actually, Horace wrote his satires in the SATIRES OF HORACE. The Epodes were lyric poems/songs, and were written for various reasons. The dialogue concern- ing the witch Canidia was not intended as a study of Witch- craft, but simply illustrates some of the common thinking of the Era. You mention Diana and Hecate as the "scary" ones, as opposed to the Olympian gods (who I assume you think are the good guys?). To a witch, the powers of Night are not scary, nor are its Deities. My mother used to say that the moon was more powerful than the sun, because the moon can be out at both day time, and at night. But the sun can only show itself during the day (a most inferior light). The Olympian gods represented the restrictive Roman System, to early Italian witches, and they preferred the deities of the common folk. Diana was, among other things, the goddess of the oppressed (something Rome was rather fond of doing). I find the non olympians worthy in their own RITE. There is little more beautiful than the night of a Full Moon, and a circle of Her children in loving worship, beneath Her. We see the Sun/God as Her worthy Consort, and a balance. When I see what goes on during the day, such as Corporations spewing filth into the air and the waters, governments plotting against one another, Wall Street and so forth, well...now that is scary ! FROM ROBERT THOMAS No, no, Raven, you misunderstood. I don't personally think that the chthonic gods are scary at all; I'm friends with most of them, and one of them is my patron! I meant that they were scary to the average Roman citizen of the time. Horace's writings reflected popular opinions of witches, rather than their actual practices. In all of the Classical and Greco-Roman spells that I've seen, the Olympians were not excluded; anybody that they thought might be willing to help, they invoked. A number of the spells read like Hesiods Theogony with a request tacked on to the end, so I wouldn't call them limited in their scope. Still, to the educated Roman citizen, the witch was thought to represent a dangerous feminine power which was not under the control of the Empire and thus was antagonistic to the Roman way of life and to its gods (the Olympians) as well. This was their (the Romans) conception, not the truth of the matter. These conceptions were what Horace was drawing from when he wrote his works, since this group (the educated Romans) were the audience for which his works were intended (actually, they were the only ones who could read them, since literacy was not common among the people). Hope this has made my point a little clearer and look forward to reading your other posts...Gwydion ---------- FROM MARTIN DUGAN III Is it true that you guys really worship the ancient gods of Rome and Greece? FROM RAVEN GRIMASSI Different cultural Traditions worship different deities. I follow an old Italian Tradition and worship some of the ancient goddesses and gods who were known to the ancient Romans. A wise Holy Woman who lived during the 14th Century in Italy addressed the issue of there being different gods in an interesting manner. She was asked which God should be worshipped and she answered saying: In a man's lifetime he is known by many names and titles. To one person he is called "brother" and by another he is called "father". To still another he may be called "cousin" or even "husband". Some may call him "sir" or some by his given name, but is he still not the one man ?". She was addressing the issue of Deity and the need for Humankind to give it a name or a title. She taught that Deity was not as petty as Humankind and had no need to be addressed by a particular name only, or in a particular manner only. These were Human concepts and expressions of the limited understanding of Humankind. Oops, sorry, I guess I wandered away from your original question... Blessings to you, Raven ---------- We chose the word "Aridian" instead of "Aradian" for two reasons. First there was an Aradian system already established in the mid-west during the early 80's and they were following a modified version of Leland's Aradia. I did not want to be confused with their system. Secondly, Arida was the name of an old village in Italy where Aradia and her followers first began to practice as a group. So, we decided upon the term Aridian (two birds with one stone, so to speak). ---------- ARTS OF WITCHCRAFT This is a series of notes concerning the arts of the Craft; meaning magic and ritual etc. This first note is on "energy". When you hold your hands a few inches apart, palms facing, you create an electromagnetic field between them. This magnetism indicates the presence of polarities; opposite poles which attract one another. The first thing we can say about energy is that it is composed of opposites. The best way to understand these opposites is to think of them as directions of force: feminine -----> <-------- masculine negative -----> <-------- positive inward ------> <-------- outward Though we divide them to talk about them, these opposites within energy can never be separated. One cannot exist without the other. Positive and negative pulls are both necessary for movement. Together the two create vibration. When opposites are in the correct relation- ship the result is balance. The second thing we can say about energy is that it IS balanced. Balance is the natural state of the Universe. However when energy becomes plural it is reduced to positive and negative charges and is considered unbalanced. Because they are incomplete forms of the universal "all", energies set up separation between the whole and its parts. Separations of such, manifest physically and mentally. Held as such they must occupy definable territories. You may have noticed this in yourself perhaps as a sadness in the heart area or fear in the pit of your stomach. These are energies occupying space. When energies are held in by emotion they can be felt as a weight or a presence. Another word for energy is ego. Ego separates us from the All. The truth is that we are no more or less than anything around us. Everything is a physical manifestation of energy in its state of positive and negative charges. The effects of magic are worked through the aspect of energy which the modern systems sometimes term "od" or "odic" force. It is the vital element which flows through all terrestrial globes and all living beings. By its various influences this agent attracts some things to others and keeps other things away as well. The Human body radiates this energy. It can submit one person to another's will. The Odic force is capable of being consciously developed, energized and intensified. It is this power concentrated and directed which is the basis of personal magic. The will of the person performing a work of such magic concentrates and controls the energy. This concentration of energy is then sent to its goal, either stored in a talisman or sent in a thought-form to the person or thing to be effected. The power of the odic force must be used in accordance with the solar and lunar tides, as well as Cosmic Tides. FROM JANA HOLLINGSWORTH In your first note concerning energy, you say that energy is "composed of opposites," by which you mean it is polar in nature. This sounds like you mean ALL energy is polar. While electro-magnetism is polar, the other three forces of nature-- the strong force, the weak force, and gravity-- are not. The magical energy you describe is similar to electro-magnetism, but electromag- netism is not by any means the only force in the universe. Although the analogy between electromagnetism and magical polar energy is clear, they don't seem to me identical because magic is not always perfectly polar. There is more flexibility in magic than there is in electromagnetism. Physicists have never yet found a magnetic monopole, but in magic they're everywhere. Hmmm...there ought to be a good limerick in this somewhere. I'll think about it. TO JANA HOLLINGSWORTH This is indeed too complex an issue to fully cover in a BB format, unfortunately. When I speak of energy polarity I am speaking of magical energy. It is an old teaching that each of us has within ourselves an energy current comprised of masculine and feminine polarit- ies (active & receptive). When we raise magic, or draw magic, we cannot help but give it dual polarity because that is our nature. In the Eastern mystical traditions they would call this the Ida and Pingala currents (which divide and flow from the base chakra, cross each other at the heart chakra, and then flow into the 3rd eye uniting once again). If we take the old Occult axiom "As above, so below" we can also say that the Creators set within all things this same Ida & Pingala nature (since it would be their imprint on their creation). The nature of the artist is always within the nature of his or her art. So what I am speaking of is the etheric essence of energy. On a mundane level I do not know a great deal about the physical properties of all "natural" energy forms. But I do know that things are not always as they seem, or appear to be. The occult nature of a physical object, or a physical property, is not always readily apparent ( I suppose that is why it is called "Occult", meaning hidden or secret). I don't know if this helps clarify my statements or not. I'm just sort of winging it here, but I think I've covered the basic concept. I would be happy to go into this more if you have any other questions or comments. I do not claim to be "all-knowing", but I am pretty solid on occult science. FROM JANA HOLLINGSWORTH If we count etheric or occult energy as a fifth force of nature, then the Creators made a universe with two polar forces and three which are non-pol- ar. That means we, their creations, have natures which are both polar and non-polar. The strong and weak forces have tiny ranges of sub-atomic size, while gravity--the weakest of all forces--is thought to have infinite range. It becomes weaker with distance, but never quite disappears. Is magical energy similar to gravity in this respect? Is its range limited or infinite? Does it fall off with distance? Does it travel at the speed of light? Does it exhibit wave/particle duality? I don't necessarily expect answers, but I find these questions interesting. They can be answered about all other forms of energy. I expect no one has studied magical power in these terms, but if magic is a form of energy there ought to be answers somewhere. FROM: RAVEN GRIMASSI When you can pluck the wave/par- ticle duality from my hand it will be time for you to go . Sorry... I would not count occult energy as an additional force of nature but as an animating element within nature. You lost me on the polar universe stuff though. Great questions !! Let me tell you what I know about how magic works and manifests, and perhaps some answers might appear. First of all the action of magical manifestation actually takes place within the astral dimen- sion. Time and space as we understand it, does not exist there. So I would not say that the range of magic is infinite, but rather that it behaves (from our perspective) as though it had infinite range because it manifests without reference to distance. The effects are as though it had infinite range. As to speed of travel, I would say that it is accurate to say that magic travels at the speed of thought, whatever that might be. Magical energy is affected by a variety of external forces. Magical force fields, such as protective pentacles, can slow or deflect the force. Greater forces such as those exerted by deity or high level spirits can certainly alter the course of one's magic. I always tell my students that there are only two reasons why one's magic will ever fail: one is that it was performed incorrectly (including at the wrong time) or a greater force opposes it. Does this help ? FROM JANA HOLLINGSWORTH I don't know the actual speed of thought, but it is the speed at which electrical impulses travel across one's neurons, and is considerably less than the speed of light. Perhaps magic could be thought of cutting through the "Elsewhere" portion of a space-time diagram where all particles MUST travel faster than light. I don't mean that literally, but as an analogy for the astral. I don't know the current status of the theory of tachyons (faster-than-light particles). It may be entirely old hat. My knowledge of physics is based on popular books and subscriptions to SCIENTIFIC AMERICAN and SCIENCE NEWS, so I'm not always up-to-date. Making an analogy between physics and magic helps me make sense of what's going on with magic. I fear I'm a theore- tician of magic more than a practitioner; despite a horo- scope loaded with psychic potential, my talent for practical magic is nil. So I try to work up theories of magic instead. I suspect we may someday discover that magic and quantum physics are intimately related. Which science fiction writer said that any sufficiently sophisticated technology is indistinguishable from magic? As for wave/particle duality, it is yet another pair of united opposites:an electron is a wave or a particle (female or male) depending entirely on how you choose to look at it. If you don't look at it at all, it is neither and both; it is entirely potential. FROM RAVEN GRIMASSI Thanks for the scientific info. I'm sure that Occult Science and Physical Science are definitely related, and perhaps someday Physical Science may catch up. Just to add another aspect; the plane of forces (elemental plane) flows like a river to and from the physical dimension and the astral dimension. It is this plane which carries magical energy to the Astral Plane where it takes on the image of the desired effect. Once the thought is formed there, it then passes back through the Elemental Plane and manifests upon the Physical. Perhaps the substance of the plane of forces has more to do with the physical science of which you speak. It would make sense because the substance of the Elemental Plane is more closely related to physical matter than is the astral. FROM JANA HOLLINGSWORTH There has to be some unity of physical and metaphysical forces or magic wouldn't function in the physical world. BTW, I think it was Arthur C. Clarke who said that any sufficiently sophisticated technology is indistinguishable from magic. ---------- ARTS OF WITCHCRAFT: MAGIC & ENERGY There are many different types and styles of magic involved in the practice of magical Witchcraft. Some covens/practitioners differ in the type used; some use all and some may combine only a few techni- ques. Basically they may be organized into two categories; operative & ceremonial. The first covers spells, words of power, the use of unguents/potions, etc. The second is concerned with the operation of Craft rituals. The aspects of magic can be thought of in this manner: Sympathetic, ritual, raised, drawn, and sex magic. Ritual is a means of concentrating and attracting those energies which are symbolized through the use of gestures, word phrases and images (symbols, runes, etc). The magical theory being that by acting out certain symbolic gestures, with concentration upon their meanings, one can attract sympathetic energies inherent throughout the Universe. These energies can be directed by the use of one's controlled will. This aspect is sometimes called the witches' pyramid. The witches' pyramid is a glyph which symbolizes the mentality necessary for the directed manifestation of magical energy. It is comprised of these attributes: Personal Will Imagination Visualization (all three of these must enclose the expectation of success) Will * (expectation) * * imagination visualization Expectation is essential to a successful manifestation. You must will a thing to be, imagine the outcome in your mind, and visualize what it is that you desire. But beyond this you must have the expec- tation that it will manifest as you desire it to. FROM MICHAEL MAGEE What in all of Ma Natures perfection is Sex Magick???? Sounds messy? FROM RAVEN GRIMASSI Sex magic is the use of energy raised through sexual union. This is the most condensed and powerful form of energy which can be raised from the human body. Some Craft Traditions employ it in the 3rd Degree Initiation ceremony. In Eastern mystical traditions it is known as Tantra. The ancient Egyptians employed it as well. The energy raised in sex magic is sometimes referred as the kundalini power, or serpent power. The headdress of ancient Egyptian rulers bore a serpent protruding from the forehead of the wearer. This was symbolic of the serpent power having been raised to the 3rd eye, the sign of Divine Union, or samadhi. The kundalini force is seated at the base of the spine and governs the sexual nature of the individual. In magic it is drawn up through each of the Chakra points, to the third eye, employing sexual energy. ---------- ARTS OF WITCHCRAFT: MAGICAL LINKS All things connected with a person contain an energy link with that person. For example, a person's hair holds the vibra-tions of his/her energy pattern, and by the use of sympathetic magic that person can be influenced by energy directed to him/her. This could be used for emotional healing of that person, motivation, or whatever. The hair acts as a point of concentra-tion and as a kind of "homing device" for the directed energy. The same is true for unwashed items of clothing and other personal items. By making an image of an in- dividual and placing his/her personal items within it, one creates a center of focus. Works of magic for the gain of something should be done while the moon is waxing (new to full) and works to be rid of something or to undo something should be performed when the moon is waning. Cord magic is a basic magical tool in witchcraft. The theory being that by concentrating a desire upon the cords, using them as a focus, one can raise and condense magical energy. This energy can be set into the cord itself by knotting the cords at the point of great- est concentrated effort. In other words, you concentrate on your desire and make an exclamation of the desire as you quickly make a knot (pulling it tightly as you confirm the desire). Later, untying the knot will release the desired effect. This can be helpful when working with someone who really bothers you a lot. You can set the message "leave me alone" into the cord (knot) and untying it (sec- retly) when the person is really on your nerves. In this case you would simply think about the person so that you raise your emotions on the subject, then begin to loop the cord into a knot. Before pulling the cord tight into a knot, visualize the person's face. Then shout (out loud or within yourself) "Leave me alone!". Visualize the person leaving you alone as you continue for a moment to exert tension on the cord. As with all forms of magic, be responsible when you perform a work which effects another person. Why you do something is often more karmically established than what it is that you did. For example, if you harm someone in order save another person's life as opposed to harming someone because you seek revenge, there is a difference in the karma which you are establishing for yourself. Obviously, you should seek to harm no one in the first place. ---------- ARTS OF WITCHCRAFT: THE UNIVERSAL CONDENSER Condensers are fluids which are used to carry magical charges. One method of charging them is to place your hands together palms down (as you might for a "push-up" exercise) so that the index finger-tips meet as do the tips of the thumbs. Next inhale deeply, visualizing the full moon above your head. Bring the triangle opening in your hands over the condenser liquid and exhale three times through the opening and upon the liquid. As you do this visualize the light of the moon pouring down through your head and into your lungs (as you inhale) and then visualize it flowing out with your breath as you exhale. The Condenser: take 2 level teaspoons each of camomile flowers and eyebright and place them in a bowl. Boil two cups of water on an open flame and then add the herbs. Set the mixture aside to cool for 15 minutes. Then filter the mixture through four layers of clean linen cloth/cheesecloth. This condenser can be used medicinally as a lotion or magically for evocations (also to improve clairvoyance). Diluted in 7 parts of warm water it can be drank for stomach problems. Undiluted it can be used for various minor aches & pains by applying it to the area with a cotton soaked pad for 1 - 2 hours. Ears can be treated by applying it with cotton balls in an "earplug" fashion. For clairvoyance place soaked cotton balls upon your closed eyes for about 20 minutes. To increase occult sensitivity in the palms of your hands (for psycho- metry) use the cotton pads on your hands for the same 20 minute period. ---------- ARTS OF WITCHCRAFT: MAGICAL USES OF THE FOUR ELEMENTS There are four basic systems which are useful in creating magical influences related to the four elements of earth, air, fire and water. Fire works through combustion, water through mixture, air through evaporation, and earth through decompo-sition. These aspects are incorporated in the completion of a spell or other magical work. Generally you will have some material left over to dispose of (wax, ashes, and so forth) and it is correct to use one of the elemental methods to complete the final stages. If your spell was to influence a person then the earth element is used. If it was to accomplish a specific goal then fire is good. Romantic works are best with water and matters concerning mental creativity employ the element of air. The following examples can be used to complete whatever spell you were working on. FIRE: Take a piece of paper or cloth and moisten it with the univer- sal condenser. Place this in front of you and concentrate on the work of magic. Strongly imagine your thoughts to be filling the material. Imagine your desire being "written" by your thoughts across the material. When your concentration is breaking then the material is fully saturated. Now simply burn the cloth or paper in an open fire. While it is burning concentrate on your desire. The fire releases the charge and merges it with the element. AIR: Take a small metal container and fill it about half full. Add 3 drops of universal condenser. Put the container over a flame and concentrate upon your desire as you gaze into the water. As the steam begins to rise, imagine your desire being drawn up and carried off. Continue until all the water has been evaporated. WATER: Take a container and fill it about half full with fresh water. Add 3 drops of universal condenser and 3 drops of rubbing alcohol. Now impregnate the water with your concentrated desire. When you feel that it is full pour the water into a stream, river or any moving body of water. EARTH: With this element your concentration is centered on the universal condenser which you place in a jar after it has been loaded. Then this is poured out over a selected spot of earth to be absorbed directly into the element of earth. FROM JANA HOLLINGSWORTH A good, useful, practical note. It seems people often use the four elements only for casting a circle, or simply have them represented on their altars. It's a good idea to use a specific element for a specific purpose, rather than always calling on all four. I suspect these spells would be best performed outdoors, making the elements seem more real. Pouring one's spell-water into a stream would feel better than pouring it down the drain. ---------- ARTS OF WITCHCRAFT: THE COMPONENTS OF RITUAL & MAGIC There are essentially five so-called ingredients which comprise the art of creating successful works of magic, or effective ritual. You can adapt them, or arrange them according to your own needs, so long as you employ them all. They are: 1. Desire 2. Timing 3. Imagery 4. Direction 5. Balance Let's look at each one and gain an understanding of the concept. DESIRE: this can also be thought of as motivation, temptation, or persuasion. You must be sufficiently moved enough to perform a ritual or work of magic, in order to establish enough power to accomplish your goal. If you care little about the results, or put only a small amount of energy into your desire, then you are unlikely to see any real results. The stronger the need or desire, then the more likely it is that you will raise the amount of energy required to bring about the change you seek. But desire or need is not enough. TIMING: In the performance of magic, timing can mean success of failure. The best time to cast a spell or create a work of magic is when the target is most receptive. Receptivity is assured when the target is passive. People sleep, corporations close over-night & holidays, etc. One must also take into account the phase of the moon and the season of the year. Work with nature and not against it. IMAGERY: The success of any work also depends upon images. Anything which serves to intensify the emotions will contribute to success. Any drawing, statue, photo, scent, article of clothing, sound or situation which helps to merge you with your desire will greatly add to your success. Imagery is a constant reminder and acts as a homing device in its role as a substitute. Imagery can be manipulated and modified "all according to the will of the witch, and the very blueprint that is created by imagery becomes the formula which leads to realization of desire". Surround yourself with images of your desire and you will attract the proper vibrations which will attract the object of your desire. DIRECTION: Once enough energy has been raised you must direct it towards your desire. Do not be anxious for the results because anxiety will act to draw the energy back to you before it can take effect. Try to give the matter no more thought so as not to drain its effectiveness. Mark a 7 day period off on your calendar and evaluate the situation 7 days later. It usually takes about 7 days for magic to manifest (one lunar quarter). BALANCE: The balance factor is simply the "reality check" or prac- tical mentality which keeps you focused in actuality. You must discern the need for any work of magic you engage upon, and take into consideration the practical concerns of the phase of the moon and other factors. Remember that every work of magic has an ongoing connection with yourself, and you must consider the intent of your actions. This deals with what many call "the 3-fold law". According to this teaching, every magical act with return back to you with more increased intensity (sort of like tossing a rock up in the air, and having it speed back down upon you). This is also an aspect of 'Karma", or the accumulation of debts which must be paid (in a mys- tical sense). The balance factor is also applied to any perception of super- natural manifestations, psychic attack and so on. Always consider the mundane causes first before you leap into a paranoia of supernatural attack. When things go "bump in the night" it more likely your cat than it is a spirit. There is an old saying in the medical field concerning diagnosis: "When you hear hoof beats, think horses before zebras". I think this applies to magical or psychic phenomena as well.